From: IN%"klarinet@listserv.cc.va.us" 16-JAN-1998 18:01:41.08 To: IN%"klarinet-digest@listserv.cc.va.us" CC: Subj: klarinet-digest V1 #591 Return-path: Received: from listserv.cc.va.us by LATTE.MEMPHIS.EDU (PMDF V5.1-8 #16781) with SMTP id <01ISGCAZPCKG9JIUSQ@LATTE.MEMPHIS.EDU> for GGHOLSON; Fri, 16 Jan 1998 18:01:39 CST Received: by listserv.cc.va.us (AIX 4.1/UCB 5.64/4.03) id AA17318; Fri, 16 Jan 1998 18:02:24 -0500 Date: Fri, 16 Jan 1998 18:02:24 -0500 From: owner-klarinet%@listserv.cc.va.us (klarinet-digest) Subject: klarinet-digest V1 #591 Sender: owner-klarinet%@listserv.cc.va.us To: klarinet-digest@listserv.cc.va.us Errors-to: owner-klarinet%@listserv.cc.va.us Reply-to: klarinet@listserv.cc.va.us Message-id: <9801162302.AA17318@listserv.cc.va.us> Precedence: bulk klarinet-digest Friday, January 16 1998 Volume 01 : Number 591 Re: Wind Quintet Re[2]: Reed rush vs sand paper Karl Stamitz's Clarinet Concertos Re: Reed Rush Re: Karl Stamitz's Clarinet Concertos VIBRATO IN WIND PLAYING Re: VIBRATO IN WIND PLAYING Re: Bass clarinet repair person in S.E. U.S. Re: Water in the "a" key RE: VIBRATO IN WIND PLAYING ---------------------------------------------------------------------- Date: Fri, 16 Jan 1998 07:20:54 -0500 From: Mark Charette Subject: Re: Wind Quintet Michael Bryant wrote: > Brandt's Woodwind Quintet List - with partial annotations and assessment > http://www.ms.uky.edu/~moses/doublereed/dr.list/ww5_brandt.html (42 pages) > Andrew Brandt: abrandt@afm.org > 218 Boulevard Street, Streveport, LA 71104 Just a quick note - the entirely of Andrew's list including his annotations is on sneezy. We share discoveries & information. - -- Mark Charette | "This is a very democratic organization, so let's charette@mika.com | take a vote. All those who disagree with me, raise MIKA Systems, Inc.| their hands." - Eugene Ormandy Webmaster of http://www.sneezy.org/clarinet, The Clarinet Pages ------------------------------ Date: Fri, 16 Jan 1998 14:19:49 +0100 From: Daniel.Meirsman@LEU.CE.philips.com Subject: Re[2]: Reed rush vs sand paper The scientific name is equisetum laevigatum (scouring rush or horsetail). Pictures of these plants can be found on: http://www.catalinas.net/seer/plants/thorne/equilaev.htm Daniel M. ______________________________ Reply Separator ________________________= _________ Subject: Re: Reed rush vs sand paper Author: majordom@listserv.cc.va.us at #SMTP Date: 16/1/98 10:35 It's not a reed or a rush, but the dried stems of various horsetails, which are (I think) pteridophytes, like ferns. The abrasive quality is partly due to the nature of the surface, and partly to the high silica content of these stems. Roger Shilcock On Thu, 15 Jan 1998, Lane G White wrote: > Date: Thu, 15 Jan 1998 23:35:25 EST > From: Lane G White > Reply-To: klarinet@listserv.cc.va.us > To: klarinet@listserv.cc.va.us > Subject: Re: Reed rush vs sand paper > > On Thu, 15 Jan 1998 21:49:11 EST GTGallant writes= : > >This may sound silly, but what is reed rush? I always wondered what= > >is was > >and was used for. > > It's a plant material - when dried, it's hollow, hard, and abrasive. = Mine > happens to be about the diameter of the business end of a cotton swab= - > dunno if that's universal. Mine is cut into 2-3" sections. > > You use it (or sandpaper) to scape reeds. Not that I'm an expert on > adjusting reeds, but the abrasive characteristic of dutch rush is > different than sandpaper, IMO - its abrasiveness is due to the ribbed= > nature of the plant stem, so it acts more like a bunch of razor edges= > bunched close together, rather than a lot of random microscopic jagge= d > edges, which is the nature of sandpaper. Not sure if that's good or b= ad; > since I have identified myself with the "PLAY OR DIE"[tm] division of= the > Klarinet List, and don't give bad reeds a chance to redeem themselves= > anyway. > > Looking back on this last paragraph, I'm sure there's something in th= ere > that I'll get flamed over. It'll give me something to do this weekend= > besides practice for my recital. > > Say, fellas, which reed company do you think will chip in for the > t-shirts? > > /---------\__/---------\ > / /| |\ \ > / / | PLAY | \ \ > | OR | > | DIE | > | [logo ] | > | | > > (it's a shame nobody uses fixed fonts for e-mail anymore) > > > > ---------------------------------------------------------------------= - --------- - ----- > this e-mail account is primarily for use with the Klarinet newsgroup.= > send priority e-mail to garysmith@mindspring.com > = ------------------------------ Date: Fri, 16 Jan 1998 13:51:15 -0000 From: Michael Bryant Subject: Karl Stamitz's Clarinet Concertos Those interested in persuing the identification of Karl Stamitz's clarinet concertos to a reasonably satisfactory conclusion might like to consult John Newhill's article "The Contribution of the Mannheim School to Clarinet Literature", The Music Review, May 1979. He lists 10 concertos, two concertanti originally including clarinet and 17 quartets for clarinet and strings. He refers to Helmut Boese's Die Klarinette als Soloinstrument in der Musik der Mannheim Schule, Dresden 1940 and also Robert Titus's thesis "The Solo Music for the Clarinet in the 18th Century", Iowa 1962. He includes incipits that I cannot reproduce here. Stamitz probably wrote the concerts over a period of 26 years. 1, 2, and 3 were probably written before he went to Mannheim. No 1 "The Darmstadt" E flat. MS was at Darmstadt but destroyed by RAF bombing. Copy retained by Boese and published by Hofmeister 1956. Boese's date for 1-2 : late 1760s No2 in B flat. MS in Darmstadt destroyed, copies with Boese and Bibliotheque Nationale, Paris No modern edition in 1979, but Jerome Bunke did a PhD thesis on it New York 1971. No 3 in B flat. MS in Vienna National Library. Modern editions by Peters (1957) and IMC c.1969. Probably his best know clarinet concerto. Recorded many times. Boese dated concertos 3-7 as 1770s No 4 in F. For clarinet in C. Copy of the print by Seiber at the BN in Paris. Published Editio Musica Budapest 1970 and by Schott 1971 Schott call it No 1! Concerto in E flat (Boese No 5) at the BN in Paris. This is the same as Concerto No 1 by Ernst Eichner, (Breitkopf catologue 1781). Published as Stamitz by Seiber No 5 (Boese No 6) in B flat published by Seiber as No 3 in c.1778. Listed by Breitkopf in 1781.Copy at the BN in Paris. No 6 (Boese No 7) in B flat This Seiber's No 5 was destoyed at Darmstadt in the war. Boese has a microfilm. There is an incomplete set of parts at the University of Wroclaw in Poland. Schloss Harburg in Bavaria has an oboe transcription of it (a later arrangement). Listed by Breitkopf in 1781 and republished for oboe by Simrock in 1963 and Breitkopf in 1970. No 7 (Boese No 8) in B flat. MS in Vienna. Seiber's edition of 1779 is in the BN Paris. Only modern edition by Linda Barnhart, San Diego University 1978 No 8 (Boese No 9) in E flat. Published by Sikorksi in 1953 from the MS at Thurn und Taxissche, Regensburg. No 9 (Boese No 10) in B flat Published by Sikorski at No 10 in 1958 from the MS in Vienna. There is also a set of parts in Prague. In Breitkopf 1781 catalogue it also appears as a Flute Concerto in C. No 10 (Boese No 11) in E flat MS in Vienna. This was the basis of the 1968 edition by Schirmer. A note on the MS suggests that it was a collaboration between Josef Beer and Stamitz. Boese and Newhill agree with this. The opening is quite unlike Stamitz, while the themes of the last two movement are familiar. Kratochvil discounted the Stamitz attribution altogether in 1968. The concerto was published in Potsdam in c 1793. The only know copy of the printed edition is in private hand in Brno. Michael@Bryant14.demon.co.uk e ------------------------------ Date: Fri, 16 Jan 1998 08:59:02 -0600 From: George Kidder Subject: Re: Reed Rush >Date: Fri, 16 Jan 1998 09:17:35 +0000 (GMT) >From: Roger Shilcock >Subject: Re: Reed rush vs sand paper > >It's not a reed or a rush, but the dried stems of various horsetails, >which are (I think) pteridophytes, like ferns. The abrasive quality is >partly due to the nature of the surface, and partly to the high silica >content of these stems. >Roger Shilcock Absolutely correct - a mark of A from the biologist ------------------------------ Date: Fri, 16 Jan 1998 15:15:00 +0000 From: Robin Fairbairns Subject: Re: Karl Stamitz's Clarinet Concertos naxos have started a series of the complete set. One was played on radio 3 in `record review' new releases secton on 27 Dec: here's the entry from the play list CARL STAMITZ Clarinet Concertos, Vol.1: Berkes, Takashima, Okazaki, Nicolaus Esterhazy Sinfonia NAXOS 8.553584 (CD, budget) anthony burton said "just the sort of repertoire one might not buy if it weren't naxos" (and i thought "speak for yourself, mate"). the performance sounded entirely reasonable if not exactly inspired. i shall probably buy it (on the grounds that it's so damned cheap). robin Robin (Campaign for Real Radio 3) Fairbairns rf@cl.cam.ac.uk U of Cambridge Computer Lab, Pembroke St, Cambridge CB2 3QG, UK Home page: http://www.cl.cam.ac.uk/users/rf/robin.html ------------------------------ Date: Fri, 16 Jan 1998 14:55:31 -0500 From: avrahm galper Subject: VIBRATO IN WIND PLAYING Vibrato in Wind Playing This article was written before Mr. Bellison' death and delivered to the Clarinet, a Symphony Quarterly. The following are the editor's (James Collis) remarks. Mr.Bellison was a warm hearted, mild and quiet man. Rarely did one hear him raise his voice. No matter how excited his colleagues might become over an issue, he would discuss the problem in a quiet and reasoned language. This article is a veritable call-to-arms against the use of vibrato. Those who knew him well will chuckle at it's fire and excitement , prompted by his zeal only to perfect his art. It will warm your heart whether or not you may happen to agree with his views. Vibrato in Wind Playing In music, vibrato means a wavering of the straight line of sound produced by an instrument or voice Many wind players use vibrato to impress the audience with their sound. But musicians gifted with the fortune of a fine sound do not need vibrato. Some of the worried ones, attempting to cover a deficiency of sound, vibrate slowly. Others do it slightly faster and the rest go ahead full speed. But nobody is sure if he is right or wrong. Because there are no rules or mechanical means of measurement to regulate the tempo of wavering Everyone does it according to his own taste, which too often means with no taste. We see and hear such "artists" on radio, television, in movies and "in person". One vibrates with his lips. The other used his throat or muscles. And some use everything comes to their minds. And so the land has become filled with young and old musicians, vibrating at home, at school and in the orchestra What was once a fad is now a style. What makes it worse is that it is contagious and has spread to the better class of musicians, thus affecting symphonies and schools This kinds of playing, of course, in used to the greatest extent in dance music and jazz. themore such players shake, the more they are recognized as artists. And little by little they promote themselves to the tittle of" King of jazz. In other words they are now geniuses. We hear such artists everywhere, day and night. Their most popular instruments are the saxophone and the trumpet. Both these instruments compete with each other to prove virtuosity. The speed of the vibration and loudness play main roles in the performance. And to arouse the ardor of the audience, the players twist themselves and their instruments up and down and sideways, and at the climax of this Saint Vitas dance look like victims of convulsion. That is "hot" playing in the language of these virtuosos. The rest of the world dances to music, too. Musicians play different dances-slow ones, classical and national. All are happy and free of vibration During the many years that I have been a teacher and performer, music schools and individual teachers have sent me many letters to ask about my experience with vibrato. I did not pay much attention to this problem before, but now that it has become a plague, I decided to tell openly what I think and know about this shaky playing. IN OTHER LANDS The question of vibrato does not exist in Europe. All winds as a rule must play without wavering. They use their natural color in orchestra, chamber music and solo playing Vibration in winds sounds as unpleasant as strings without vibration. Winds must not vibrate and most European conductors see to that they do not. Teachers, too, are spared the difficulty When Toscanini took the NY philharmonic took a concert tour of Europe in 1930, the conductor and orchestra were highly praised for their artistic performance. Yet the brass and winds were severely criticized for their vibrato. Wind players and students begin to vibrate because they are disappointed with their sound. They do not know how to correct the sound and become impatient. Here is where the teacher must come to the rescue.. He must change the reeds and the mouthpiece, making sure that they suit the lips of the students. Besides taking care of the embouchure, he might require a better instrument. But the vibration must stop. The only instrument free to vibrate-but carefully - is the saxophone, even if it sometimes played in a symphony. It was born with a menagerie sound and is worse without vibration As a musician with a European background, I play with out vibrato. But at times I hear -or feel- a few seconds of vibration as I play.This happens in Romantic music where the there is an expression of a delicate phrase in a love scene. This vibration is entirely different. It is natural and comes from inside. It disappears as mysteriously as it came. Vibrato is dangerous and hard to get rid of. If America would follow the example of Europe it would get rid of shaky playing once and forever. Thus it would cast off the menace that kills the taste and development of legitimate music, I just want to add that this was published in 1953, long before the current debate on Vibrato. I have the feeling this was aimed for the Jazz craze. Interesting -no mention of clarinets. Avrahm Galper ------------------------------ Date: Fri, 16 Jan 1998 13:26:57 -0800 From: Gary_VanCott@tradetek.com Subject: Re: VIBRATO IN WIND PLAYING >. . .The more such players shake, the more they are recognized as artists. And little by little they promote themselves to the tittle of" King of jazz. . . .And to arouse the ardor of the audience, the players twist themselves and their instruments up and down and sideways, and at the climax of this Saint Vitas dance look like victims of convulsion. . . .< This excerpt from Avrahm Galper's quote of Bellison reminded me of something my clarinet teacher (who had been a Hollywood studio musician, in the 1940s and possibly a few years before and after). He told me that before Benny Goodman made any movies, Goodman played with his clarinet in a convention position. However, this was too dull for the movies and the director asked him to liven things up. Afterward this became at least a part of Goodman's style of playing. Gary Van Cott Las Vegas, NV ------------------------------ Date: Fri, 16 Jan 1998 18:12:10 -0600 From: Greg Barrett Subject: Re: Bass clarinet repair person in S.E. U.S. Can anyone recommend a repair person for a professional Selmer bass clarinet in the Birmingham/Atlanta area? ------------------------------ Date: Fri, 16 Jan 1998 18:10:10 -0600 From: Greg Barrett Subject: Re: Water in the "a" key A student of mine is plagued with water in his throat a key after five minutes of playing. The path of water formed from condensation is on the top of his bore not the bottom. Why????? ------------------------------ Date: Fri, 16 Jan 1998 15:16:39 EST From: "Dan Leeson: LEESON@admin.fhda.edu" Subject: RE: VIBRATO IN WIND PLAYING > From: MX%"klarinet@listserv.cc.va.us" 16-JAN-1998 12:11:36.06 > Subj: VIBRATO IN WIND PLAYING > Vibrato in Wind Playing A wonderful bit of clarinet history from a great player. I don't endorse his views but I am so pleased that Av posted them. He (Bellison) represents a very consisten positition taken by most clarinet players of that time. Thanks Av. > > This article was written before Mr. Bellison' death and delivered to the > Clarinet, a Symphony Quarterly. > The following are the editor's (James Collis) remarks. > Mr.Bellison was a warm hearted, mild and quiet man. Rarely did one hear > him raise his voice. No matter how excited his colleagues might become > over an issue, he would discuss the problem in a quiet and reasoned > language. > This article is a veritable call-to-arms against the use of vibrato. > Those who knew him well will chuckle at it's fire and excitement , > prompted by his zeal only to perfect his art. It will warm your heart > whether or not you may happen to agree with his views. > > > Vibrato in Wind Playing > > In music, vibrato means a wavering of the straight line of sound > produced by an instrument or voice > Many wind players use vibrato to impress the audience with their sound. > But musicians gifted with the fortune of a fine sound do not need > vibrato. > Some of the worried ones, attempting to cover a deficiency of sound, > vibrate slowly. Others do it slightly faster and the rest go ahead full > speed. > But nobody is sure if he is right or wrong. Because there are no rules > or mechanical means of measurement to regulate the tempo of wavering > Everyone does it according to his own taste, which too often means with > no taste. > We see and hear such "artists" on radio, television, in movies and "in > person". > One vibrates with his lips. The other used his throat or muscles. And > some use everything comes to their minds. > And so the land has become filled with young and old musicians, > vibrating at home, at school and in the orchestra > What was once a fad is now a style. > What makes it worse is that it is contagious and has spread to the > better class of musicians, thus affecting symphonies and schools > > This kinds of playing, of course, in used to the greatest extent in > dance music and jazz. > themore such players shake, the more they are recognized as artists. > And little by little they promote themselves to the tittle of" King of > jazz. In other words they are now > geniuses. > > We hear such artists everywhere, day and night. > Their most popular instruments are the saxophone and the trumpet. Both > these instruments compete with each other to prove virtuosity. > The speed of the vibration and loudness play main roles in the > performance. > And to arouse the ardor of the audience, the players twist themselves > and their instruments up and down and sideways, and at the climax of > this Saint Vitas dance look like victims of convulsion. > That is "hot" playing in the language of these virtuosos. > The rest of the world dances to music, too. Musicians play different > dances-slow ones, classical and national. All are happy and free of > vibration > During the many years that I have been a teacher and performer, music > schools and individual teachers have sent me many letters to ask about > my experience with vibrato. > I did not pay much attention to this problem before, but now that it has > become a plague, I decided to tell openly what I think and know about > this shaky playing. > > IN OTHER LANDS > > The question of vibrato does not exist in Europe. All winds as a rule > must play without wavering. > They use their natural color in orchestra, chamber music and solo > playing > Vibration in winds sounds as unpleasant as strings without vibration. > Winds must not vibrate and most European conductors see to that they do > not. Teachers, too, are spared the difficulty > When Toscanini took the NY philharmonic took a concert tour of Europe in > 1930, the conductor and orchestra were highly praised for their artistic > performance. Yet the brass and winds were severely criticized for their > vibrato. > > Wind players and students begin to vibrate because they are disappointed > with their sound. > They do not know how to correct the sound and become impatient. > Here is where the teacher must come to the rescue.. > He must change the reeds and the mouthpiece, making sure that they suit > the lips of the students. > Besides taking care of the embouchure, he might require a better > instrument. But the vibration must stop. > The only instrument free to vibrate-but carefully - is the saxophone, > even if it sometimes played in a symphony. > It was born with a menagerie sound and is worse without vibration > As a musician with a European background, I play with out vibrato. > But at times I hear -or feel- a few seconds of vibration as I play.This > happens in Romantic music where the there is an expression of a delicate > phrase in a love scene. > This vibration is entirely different. It is natural and comes from > inside. It disappears as mysteriously as it came. > Vibrato is dangerous and hard to get rid of. If America would follow the > example of Europe it would get rid of shaky playing once and forever. > Thus it would cast off the menace that kills the taste and development > of legitimate music, > I just want to add that this was published in 1953, long before the > current debate on Vibrato. I have the feeling this was aimed for the > Jazz craze. Interesting -no mention of clarinets. Avrahm Galper ======================================= Dan Leeson, Los Altos, California Rosanne Leeson, Los Altos, California leeson@olive.fhda.edu ======================================= ------------------------------ End of klarinet-digest V1 #591 ******************************